underlying praxis to the films of ObservationalCinema.
The first part of this chapter is concerned with the general ideas and influences that inform the praxis of the SEL and with the films that first established its reputation, which were made through the joint endeavours of Lucien Castaing-Taylor, Ilisa Barbash and Ernst Karel. In the latter part, I consider some more recent works, including the films made by those who might be called the ‘second wave’ of SEL film-makers, that is
See Henley ( 2009 ), 79–81.
In a career stretching back to the 1970s, Gary Kildea has been one of the leading exponents of ObservationalCinema. See Crawford ( 2004 ) and Kildea ( 2007 ) for overviews of his work. See also Chapter 10 , pp. 306–9.
See Chapter 9 , pp. 260–1 and Lydall ( 2008